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Increasingly, traditional linear broadcasters are augmenting their distribution strategy by including streaming content delivery to reach the growing number of audience members who are just as likely to watch content on their smartphones and tablets as they are on their living room TVs.

Free Ad-Supported Television (FAST) channels and Broadcast-Enabled Streaming TV (BEST)—aka BroadcastIP—are but two of the avenues broadcasters are pursuing to reach additional viewers, drive higher revenues and compete more effectively with digital rivals.

Broadcasters looking to cash in on these opportunities must first develop effective strategies touching nearly every aspect of their operation—from sales and marketing to content prep, traffic and playou tand master control.

Join TV Tech Contributing Editor Phil Kurz and sponsor TelVue for this informative webinar Dec. 12 at noon ET to explore the latest developments in streaming services, advertising opportunities and FAST and BEST channel deployments.

The 2024 IBC Show, which wrapped up yesterday at the RAI Amsterdam, saw a nearly 5% increase over the 2023 event.

IBC announced that 45,085 visitors from 170 countries converged on the RAI Amsterdam during the show, which ran from Sept. 13-16, approximately 4.69% more than the 43,065 that attended the 2023 event. That show saw a 16% rise in attendance from the 2022 show, the first IBC since 2019, after having been cancelled in 2020 and 2021 due to Covid.

The number of exhibitors was also up to 1,350, 100 more than in 2023, and the amount of exhibition space reached 46,000 square meters, exceeding the previous year’s total of 44,500 square meters.

“IBC continued on an upward trajectory in 2024, with tremendous turnout across the entire IBC community as people gathered in Amsterdam to explore the technological advances and market dynamics redefining our industry,” said Michael Crimp, IBC’s Chief Executive Officer. “In a year marked by major events such as the Olympics and national elections, there was an extremely positive buzz at IBC2024. This year’s show addressed soaring interest in trends such as AI’s leap from theory to real-world applications, how the industry is fighting disinformation in news, and the need to foster talent and diversity across media, entertainment and technology.”

Other themes that took center stage at IBC2024 included sustainability, 5G, cloud, esports, immersive experiences, over-the-top (OTT) and streaming, adtech, metaverse, edge computing, and connected technologies. Many of these were addressed in the three-day IBC Conference, relocated to the Auditorium Complex at the RAI, as well as in the various show floor theatres and by many of the exhibitors themselves on their stands.

A number of IBC2024’s defining themes were also focuses of the IBC Accelerator Media Innovation Programme, which this year included another IBC first: the AI Media Production Lab, exploring a series of projects in which some of the industry’s most inventive innovators collaborated on specific AI concepts. One of the hottest Accelerator projects—also addressed in the IBC Conference—was ‘Design Your Weapons in the Fight Against Disinformation’, which aimed to develop an industry-wide understanding of the challenges and abuses being faced today by all media outlets in helping audiences identify trustworthy news and information.

The new AI Tech Zone, powered by EBU, featured AI pioneers sharing insights into how the technology will impact the future and how it is already transforming media in areas such as discoverability, news verification, and creating immersive experiences.

Another new feature at IBC2024 was the Audio Visual (AV) buyers’ event on the eve of the show. Working with the AV User Group, media technology companies at the show were able to actively engage with major AV purchasers such as Arup, AstraZeneca, Bank of America, Barclays, Deliveroo, Direct Line Group, KPMG, Schroders, Sopra Steria, UBS, and WPP.

The inaugural, free-to-attend IBC Talent Programme featured discussions on mentoring the industry’s next generation, recruitment challenges, and the importance of diverse perspectives for driving innovation. The program was preceded by the World Skills Café, run by Global Media and Entertainment Manifesto, which took place at the RAI the day before the show.

“In the last few years, IBC has gone from strength to strength, with exhibitors continuing to find more ways to make the most of the show as we add new features and grow its scope and reach,” said IBC Director Steve Connolly. “The feedback we get is incredibly positive, with many seeing IBC evolving as an increasingly important incubator of media tech innovation, as well as maintaining our status as an essential networking destination and source of intelligence on new industry trends and developments.”

All content sessions from IBC2024 will be made available online following the show. The 2025 IBC Show will return to the RAI Amsterdam, Sept. 12-15.

AMSTERDAM—Pebble, a provider of automation, content management, and integrated channel technologies, says it will highlight its approach to the “true economics” of live playout at the 2024 IBC Show, Sept. 13-17 at the RAI Amsterdam.

“Pebble has always led the way in using powerful, reliable, secure and intuitive software to automate workflows in broadcast delivery,” explains Sally Wallington, senior vice president of sales said. “Today’s rapidly evolving needs in the playout market are more demanding than ever and that’s why, on our stand at IBC2024, you’ll see interactive demonstrations for sports, entertainment and news – all in a live playout environment.

“But it’s not all about the functionality. It’s important to understand and realise the costs involved, and optimise the commercial aspects of playout,” she added.

Pebble says its software suite has integrated seamlessly with devices in the playout chain from all the key manufacturers. The company also offers its own Integrated Channel device, replicating in software all the functionality of a traditional broadcast playout operation, but at a completely different price point. Another growing requirement to manage costs is the need for remote and multi-site operations and for that, Pebble says it now offers secure monitoring from any location to any linked installation. This web-based tool gives access to authorised users from any location, through a special hardened portal, to a dashboard and control panel.

“We appreciate customers have varying, economic, as well as technical challenges and these need a different approach. At IBC many companies will be focused purely on technology, for me it’s important that Pebble addresses all of our customers’ business requirements, including offering innovative commercial solutions, such as billing down to the hour,” said Peter Mayhead, CEO, Pebble.

Pebble says it develops its software to meet open standards and develops integration links with other key vendors where it adds value for the user. Pebble has also announced a collaboration with Virtual AI and its Op2mise application to enhance Pebble’s functionality for FAST channels.

Pebble will be in Stand 8.C58 at RAI. To register for the show, visit https://show.ibc.org/

The 2024 IBC Show runs Sept. 13-16 at the RAI Amsterdam. TVBEurope Content Director Jenny Priestley recently talked with IBC President Michael Crimp about what to expect.

TVBEurope: What are the key themes of IBC2024, and why have you chosen them?
Michael Crimp: We have three core themes which form a thread that runs through all aspects of IBC2024, including the IBC Conference, the show floor theatres, new show features and partner initiatives taking place at the RAI. They are: Transformative Technology, Shifting Business Models, and People and Purpose.

We’ve kept these key pillars in place to maintain a structure and help visitors navigate their show experience, with each theme representing a critical focus area for the industry. Transformative Technology has always been at the core of IBC and is exemplified by the innovation on display across our exhibition halls and through the IBC Innovation Awards, Technical Papers Programme, and the Accelerator Media Innovation Programme.

Similarly, IBC has always championed industry evolution as the media technology sector has had to adapt amid changing consumer behaviors, new ways of working, and challenging economic conditions—making Shifting Business Models an essential theme that impacts every conversation at the show. The People and Purpose pillar is just as pivotal, enabling the entire IBC community to play an active role in positive change, including attracting and retaining the next generation of talent and fostering skills development, improving sustainability, and promoting diversity, equality and inclusion.

TVBE: This year’s show features an AI Tech Zone. Why did you choose to highlight AI in that way?
MC: AI is everywhere in the industry, and is demonstrating hugely exciting potential in media and entertainment. As AI rapidly evolves, and technology pioneers and media companies move beyond the experimentation stages to real-world applications, we are providing a central hub to showcase how AI is impacting our sector’s future. We know that media brands and tech providers are looking to step beyond hype cycles and talk about real, proven use cases.

TVBE: What will we see in the AI Tech Zone?
|MC: The AI Tech Zone, powered by European Broadcasting Union, will act as a focal point for AI providers, content creators and solution vendors showcasing how AI can meet specific industry needs. On the AI Tech Zone Stage, its sponsor, Wasabi Technologies, will lead a session which will look at how advanced AI algorithms automatically tag content libraries with rich metadata for a range of uses. Over at the AI Networking Zone, sponsored by DOT Group, the media and entertainment community can connect and engage around AI issues and meet some of the most innovative players championing AI in media.

TVBE: Tell us more about IBC’s first AI Media Production Lab.
MC: Alongside showcasing new products and pioneering AI thought leaders at IBC2024, we want to play an active role in fuelling its development via our hugely successful Accelerator Media Innovation Programme. The AI Media Production Lab project covers three project streams: Generative AI in Action, AI Audience Validation Assistant, and Changing the Game: Predictive Generative AI, which set out to pioneer new, real-world use cases of AI within media production. The aims include improving creativity in storytelling, deepening audience engagement, and harnessing real-time predictive analytics to personalize live sports viewing. The projects are being powered by world-leading innovators including Verizon, the RAI, ITV, and Vodafone, among many others.

TVBE: How are new technologies like AI bringing new exhibitors and attendees to IBC?
MC: Leading-edge innovation across areas such as cloud, AI, 5G, XR, and immersive tech are expanding both IBC’s exhibitor and visitor bases, as media and entertainment draws on new and emerging technology segments. Over 150 first-time exhibitors will be in attendance at this year’s show. With continued convergence between broadcast and pro AV sectors, we’re also hosting a new AV Speed Pitch Event—in partnership with the AV User Group—to enable technology providers to showcase their latest innovations with non-media audiences across retail, finance and other sectors.

TVBE: The immersive tech space has expanded into two halls this year. How will that be reflected in the Conference program?
MC: Immersive tech is one of six essential topics covered in the content program at IBC2024, with Conference sessions from industry leaders including, “How are games impacting the media ecosystem?” and “What does human-machine collaboration mean for the future of content and creativity?” These sessions will cover the evolution of immersive technologies like AR, VR, and metaverse while exploring cutting-edge interactive content experiences of the future.

TVBE: What are the aims of the Conference this year?
MC: The IBC Conference provides an exclusive deep-dive into the most pressing market issues and trends in media, entertainment, and technology—sharing fresh insights, sparking change, and connecting people. This year, we have a hugely exciting line-up of speakers and key thinkers from major organizations, including Sky, Orange, Virgin Media O2, BBC Studios, WPP, BEIN Media, Olympic Channel, Viaplay, Paramount, and ITV.

TVBE: What are some notable speakers?
MC: We have over 325 speakers lined up across an expanded content offering so there really will be a session for everybody. The IBC Conference kicks off with Benedict Evans, the internationally renowned media and technology analyst who has worked with Orange, Channel 4 and NBCUniversal, giving a keynote on “Navigating a Changing Media Landscape.” For those interested in sports entertainment in this year of huge sporting events, “Olympics 2024: Technology to broadcast beyond expectations” will look at tech developments that are transforming coverage of the Olympics and raising the bar in live sport production and distribution.

TVBE: Why are the Accelerator Projects that have been running over the past few months so important to IBC?
MC: Bringing together dynamic media and technology pioneers to address the critical industry challenges of today and tomorrow is at the core of everything IBC stands for. The IBC Accelerator Media Innovation Programme has built huge momentum since its inception in 2019, and we have seen more major media players from around the globe than ever coming to pitch ideas this year.

One particularly exciting project within such a major global election year is “Design Your Weapons in the Fight Against Disinformation,” championed by the BBC, CBS News, Associated Press, Channel 4 and Al Jazeera amongst other leading media companies. The project aims to help news organizations address the challenges and abuses of disinformation and misrepresentation in media—working to establish real-world solutions and effective interventions to combat fake news and strengthen content authentication processes.

TVBE: What do you hope attendees and exhibitors will take away from IBC2024?
MC: IBC2024 is an opportunity for attendees and exhibitors alike to play an active role in redefining the future of media technology, and experience new innovations coming to life. Business models and consumer trends are evolving at breakneck speed—IBC2024 is the place to be if you want to stay ahead of the curve and seize new opportunities. l

For more information, visit www.ibc.org.

The International Media Connectivity Group Forum (IMCG) will be held in Boston, Mass. this fall. The forum, which is nearing it’s 39th year, is an effort of the World Broadcasting Unions (WBU), which includes broadcasters from Europe, Africa, Asia, the Arab States, North America, South America and the Caribbean.

At its inception in 1985, the WBU-IMCG forum—formerly referred to as the “International Satellite Operations Group”—was created to address the number of issues facing satellite transmission at the time, and to acknowledge the essential role that satellite distribution play in global content delivery. Today, the forum works to reflect the rapidly changing technology landscape, and be inclusive of all viable contribution and distribution solutions broadcasters use in their operations.

To learn more about the event, to be held Oct. 7–8, TV Tech sister brand Radio World spoke with Ken Fuller, the VP of distribution and technology at Paramount, and WBU-IMCG vice-chair. He answered our queries via email.

RW: For those who have never heard of this forum, what is its mission/who does it cater to?Fuller: WBU-IMCG’s mission is to identify, evaluate, educate and (where appropriate) implement solutions for operational matters associated with transmission (collection and delivery). All types of transmission are covered, i.e., by any means and to any platform of video, audio and broadcast-related data. This includes any location from which news, sports, special events and entertainment are created and/or distributed. Operational issues considered by WBU-IMCG include transmissions using Internet Protocol (IP) and other media platforms.

In recent years, the group has included 5G, cybersecurity and AI as well. The WBU-IMCG works neutrally with relevant international groups, institutions, organizations and appropriate bodies to achieve these ends. By doing so, the WBU-IMCG reflects one of the core aims of the WBU by supporting the needs and the requirements of broadcasters around the world.

RW: Who at WBU-IMCG is spearheading the event this year?Fuller: A planning team comprised of broadcasters, satellite operators and a few vendors led by Morwen Williams, director of media operations at the BBC, along with two vice-chairs, Joe Shimizu, senior manager of the General Broadcasting Administration at NHK, and myself. We make up the “brain trust” that comes up with the program for each forum.

RW: What can attendees expect? Are there any speakers/sessions of note that you wish to highlight?
Fuller: 2024 is a very busy year in terms of world events, from major sporting events like the Olympics, UEFA Euro Championships and Copa America to major elections in many countries. There is a focus on ensuring reliable and managed connectivity to bringing these events and their reporting to global audiences. The forum will deal with 5G connectivity, IP infrastructure and solutions, AI as a cybersecurity threat and, of course, the latest in satellite service offerings.

RW: Are there any specific industry trends & hot topics that are top of mind as forum plans come together?
Fuller: There is a plethora of subjects that are available for discussion; however, the WBU-IMCG mandate is to look at them through a connectivity lens. From these forums, the open discussions and shared learning always deliver new ideas and angles to tackle a problem. The wealth of knowledge that comes with an international audience at the event is one of the main reasons as to why the WBU-IMCG Forums have been so successful for these many years. On our foreseeable radar are hot topics such as AI, cybersecurity, sustainability and 5G transmissions.

RW: What has public interest been like so far?
Fuller: Originally, this forum was only for members of the WBU broadcasting unions. Pre-pandemic, the forum easily attracted 80–100 people in-person, depending on where it was held. Since the pandemic, the average in-person attendance has been a little lower, due mainly to corporate travel bans. So we have added remote participation to keep those loyal attendees involved. In this current economic climate, it’s necessary to offer a hybrid option.

RW: Do you have a goal in terms of turnout?
Fuller: Our goal is to have attendance of at least 75 participants. Boston is a popular business hub, and fairly easy to get to, so we are looking forward to welcoming our participants to Verizon’s facility. Given the strength of the programs we have put together in the past few years, we decided this year to open participation to non-members of a WBU broadcasting union. In the spirit of public service, we are not charging a fee to non-members for their participation.

Register for the forum here.

Dejero plans to highlight the latest version of its patented Smart Blending Technology in live demonstrations at its booth at the 2024 IBC Show, Sept. 13-17.

Built into its EnGo 3x 5G mobile video transmitter with GateWay mode and its new GateWay 3220 network aggregation device (both showcasing at IBC), Dejero’s Smart Blending Technology simultaneously blends together multiple wired (broadband, fiber) and wireless (3G/4G/5G & satellite) IP connections from multiple providers to form a virtual Dejero “network of networks,” the company said.

Dejero says its new improved algorithm renders the connection even more stable, in all latency settings, so that users can now transmit high-quality live video with glass-to-glass latency as low as 0.5 seconds over bonded cellular. This gives remote broadcast and production teams uninterrupted access to stable, reliable internet from anywhere, according to the company.

The EnGo 3x native 5G mobile video transmitter with multicam and GateWay mode is a two-in-one device that leverages network aggregation technology to provide news and production teams with access to stable, reliable internet from anywhere, Dejero said. Using EnGo 3x with GateWay Mode, remote crews can broadcast breaking news, quickly transfer files to prepare and upload packages while in the field, and set up high-bandwidth access points for multiple devices.

This wireless broadband internet connectivity increases capacity for data-intensive applications such as newsroom systems or editing tools; creates broader coverage areas; and enhances reliability through connection diversity, according to the company. It also supports virtual private network (VPN) tunneling for secure access to an organization’s networks, alleviating increasing concerns about data protection.

“In these times of mass news and media consumption on social media and news websites, speed is as important as accuracy in journalism,” explains Matt Scully, director of product management, Dejero. “Establishing an ultra-reliable connection path between the studio and field to streamline communications, hit tight deadlines, and boost productivity is vital.”

Its large touchscreen with simple interface and new wired remote, field operators can easily start and stop, live, and monitor battery status, Dejero said. Crews can use Dejero Control cloud-based management system to remotely control EnGo units, preview incoming feeds and distribute content from anywhere.

The ruggedized EnGo 3x transmits up to four fully frame-synced HD feeds from a single unit, so users can create dynamic productions at a fraction of the cost, according to the company.

Making its IBC debut, the new GateWay 3220 is a resilient and compact network aggregation device powered by Dell Technologies, which also integrates Dejero Smart Blending Technology. Specifically designed and engineered to deliver optimal blended connectivity at the far edge of a network, the ruggedized and fanless chassis is ideal for installation in vehicles and portable kits to obtain resilient connectivity to the internet, cloud applications, and private networks, Dejero said. The compact form factor of the GateWay 3220 means that field crews can stay connected while capturing dynamic or nomadic shots, when space is limited and when cellular connectivity isn’t readily available or able to support the bandwidth required for large data/file transfers.

“Access to reliable, resilient internet in the field is essential—whether you’re looking to produce more news stories for your traditional and digital platforms, access newsroom systems, do additional research for a story, or remotely send in edited packages,” Scully adds.

IBC will also see Dejero’s new Linux-based virtual WayPoint receiver. Designed to serve as the foundation for all Cloud base IP formats, it currently supports RTMP and RTMPS formats, imminently followed by support for NDI and SRT.

“We know that it’s important for our customers to be able to deliver video and data directly into the cloud in a format that is flexible,” says Scully. “Whether that is SRT, NDI or the next standard, it’s so important to be interoperable in order to deliver effectively to downstream applications.”

The planned NDI output will allow multiple video/audio streams on a shared connection, which directly speaks to workflows that will revolve around network-based distribution methods, Dejero said. NDI enables high-quality, low-latency, frame-accurate video and allows broadcasters to track a specific IP stream to a specific application.

Dejero will be in Hall 2, Stand B09.

On Thursday, Nov. 16, TV Tech will highlight how the newest technologies transforming Media & Entertainment are revolutionizing how television is produced and distributed in 2024 and beyond. 

Join us at this free half-day virtual TV Tech Summit, where our editors and reporters will talk with industry experts in tech and programming for their insights and practical advice on such subjects as live news and sports production, AI, NextGen TV/ATSC 3.0, remote production, cloud-based workflows, 5G broadcast, streaming video and building better, more diverse tech teams.

Keynotes will feature David Burke, CTO of Gray Media, the nation's second largest TV station group and well-known expert and pundit Mark Schubin.

Learn from the experts about everything you need to know to build your business and attract larger audiences!

Register for this free event here. 

New York, NY – June 6, 2018 – Adorama, the trusted source for market-leading photo, video, audio, imaging and electronics products and information, invites photographers, videographers and digital storytellers to come explore New York City and its surrounding attractions in a completely new light at Adorama INSPIRE. Taking place in and around NYC beginning June 25th, these one-of-kind designed-to-share event experiences will take place at iconic New York landmarks including a tour of an empty Metropolitan Museum of Art, photoshoot at the Freedom Tower Observation Deck, and night shooting in Central Park, with “field trips” to the Storm King Art Center, Belmont Park and more.

Led by some of the most creative minds in photography and filmmaking, Adorama INSPIRE is a weeklong conference-festival that pays homage to cinematography, photography and digital storytelling, offering specially curated workshops focused on improving technical expertise, important industry discussions and artist-infused experiences such as photo walks, drone flying and community art galleries, many of which will be free to attend. Win a trip for two to NYC to attend Adorama INSPIRE.

A few of the stand-out designed-to-share sessions at unique and iconic NYC locales include:

Tuesday, June 26th

• Night Sky On-location, Central Park, 7:30pm-10pm. Photographer Stan Honda will be hosting a night sky shooting session in Central Park where he’ll be teaching the basics of photographing celestial objects with a digital camera and ordinary lenses. Experience Central Park at night and you’ll walk away with truly stunning images of the city as darkness falls.

Wednesday, June 27th

• Storm King Photo Field Trip with @tutes, Storm King Art Center 10am-7:30pm. Get out of the city for a change and join @tutes for a photo field trip to Storm King Art Center, which collects, exhibits and conserves modern and contemporary art, from large-scale sculptures situated in Storm King’s expansive landscape, to site-specific earthworks, to related drawings and photographs. @tutes will share some photo tips while attendees enjoy the day and art with other photographers. Ticket includes transportation and lunch.
• Creative Elements of Architecture: Out with the Rule Book, Freedom Tower Observation Deck and Oculus, 11am-3pm. See the incredible Freedom Tower and Oculus through the eyes of Olympus Visionary Frank Smith. Frank’s focus on the graphic elements of architecture means that he breaks the standard rules and creates his own unique artistic approach to architectural photography. Follow Frank as he enlightens you on his unique approach in photographing architecture around the globe and see architecture through his lens when the standard rules don’t apply. Ticket includes admission to the Freedom Tower Observation Deck.
• Belmont Horse Racing Workshop with Dave Black, Belmont Park, 12pm-7pm. Nikon Ambassador Dave Black will be taking INSPIRE attendees to a day at the races, documenting all that Belmont Park offers. With credits including Sports Illustrated, TIME, Newsweek, ESPN and more, Dave will provide tons of useful guidance on photographing action-packed movement. Ticket includes lunch and admission.

Thursday, June 28th

• Empty Met Tour with @tutes, The Metropolitan Museum of Art, 8:30am-10am. @tutes is back Wednesday of INSPIRE for a visit to the Metropolitan Museum of Art in New York like never before – attendees will have access to a VIP empty Met tour. Head inside the Met before opening and see its most famous exhibits with one of the museum’s own guides, with plenty of time to snap photos of your favorite works.
• The Strengths of Speedlites and Strobes, Central Park, 2pm- 4pm. Take a photo walk through Central Park with Francisco Hernandez, a professional on-location portrait photographer. Learn how to maximize lighting gear with the beautiful Central Park as your backdrop.
• Manhattan Skyline at Night, Special Location in Hoboken, 6pm- 9pm. Capture NYC from a totally new vantage point just across the river. After a group ferry ride to a special location in Hoboken, photojournalist and Lumix Global Ambassador Kevin Gilbert and friends will lead a workshop with models/athletes, doing creative portraiture against the stunning NYC skyline.

Attendees can find the full Adorama INSPIRE schedule and registration details here.

ADORAMA: More Than a Camera Store

Adorama is more than a camera store – it’s one of the world’s largest photography, video, audio and computer retailers. Serving customers for more than 40 years, Adorama has grown from its flagship NYC store to include the leading online destination for imaging and consumer electronics. Adorama’s vast product offerings encompass professional video and audio, connected home, musical instruments and more, while its services include an in-house photo lab, AdoramaPix; resources and gear for photographers, filmmakers, production studios, broadcasting and post houses, and recording artists through Adorama Business Solutions; professional equipment rental at Adorama Rental Company; and the award-winning Adorama Learning Center, which offers free creative education via online channels such as the popular AdoramaTV on YouTube.

Visit ADORAMA at www.adorama.com.

Press Contact

Alexis Isaacs

Zazil Media Group

(e) alexis@zazilmediagroup.com

(p) +1 773 816 7944

BALTIMORE—With the increasing acceptance of IP-based routing that allows broadcasters to present any type of sporting event—from the large-scale to the obscure—televising events with a skeletal staff can result in significant cost savings over time. It makes economic sense that, with just an engineer and a shooter based out of small truck on location—and the announcers, graphics, slo-mo, etc., working from the broadcast center, with additional content stored in the cloud—a simpler approach can work.

That doesn’t mean next year’s Major League Soccer All-Star Game, for instance, is going to be broadcast without big HD trucks from the usual suspects. But given cost savings on personnel and the crew’s travel expenses and the increased demand for programming, cost-conscious broadcast executives are contemplating that option.

Pac-12 Networks, the TV and multimedia company of the Pac-12 Conference, uses Sprinter vans outfitted for mobile production to cover conference games.FROM THE BOOTH?
Jim DeFilippis, formerly of the Fox Technology Group and now president of Technology Made Simple in Pacific Palisades, Calif., said that this concept is not especially new.

“I recall people predicting this trend in the late ’90s, with the advent of fiber,” he said. “The challenge has always been the need for some physical presence to shoot and shade cameras, to place mics or to be there in case something goes wrong. And that most talent wants to be part of the event, not working from the broadcast center.”

John Salzwedel, president and owner of Madison, Wisc.-based Token Creek Mobile Television, offered this example: “ESPN is sending multicamera transmissions from the venues to headquarters in Bristol [Conn.] from a small truck and handling everything else, including the announcers and graphics” remotely, he said.

However, these units aren’t what are normally considered a production truck. “They’re basically Sprinter vans that can only accommodate [two people who] make sure that everything is wired correctly, with dark fiber [which more sports arenas now have available to broadcasters], to an uplink truck,” Salzwedel said.

They’re typically used for “Olympic” profile sports, like an NCAA volleyball match that doesn’t garner a large enough audience to make money. “They wouldn’t be [taking that approach] for the Wisconsin- Michigan football game, but they’ll use it for Wisconsin-Michigan volleyball match,” said Salzwedel of this more antiseptic approach, which was pioneered by the Pac-12 Networks and is also employed by the Big 10 Network, among others.

However, he stated, observers who wonder if this trend might point toward the end of large mobile units are mistaken. “There is still much to be said for having your entire crew at the venue” to observe events as they happen.

Salzwedel says viewers are getting wise, too. “When they watch a soccer match on ESPN between Equador and. Portugal, they can often tell if the announcers are calling the game from Bristol,” he said, “if a player suddenly disappears and [the announcers] miss a player holding his injured arm and walking off the field, for instance. To see details, they have to be there.”

The production room in Game Creek Video’s Glory double expando, which was used to cover the U.S. Open men’s golf championship on Fox.WHERE IS IT LEADING?
Fred Gerling, president of mobile production company Gerling & Associates of Sunbury, Ohio, said that even the large mobile units are sometimes used during smaller events.

“Several of our large ‘A Game’-type trailers have performed well this year doing REMI shows (where the transmissions are streamed to another facility where graphics, etc., are added),” he said. “The concept is great, as long as there is dark fiber from the venue to the final production facility; I must say, though, it was weird seeing a large remote television broadcast trailer doing an event crewed only by an engineer and a cameraman, but there will be such combinations in the future.”

All told, he believes the technological approach will come to the fore “in airing ‘Olympic’ sports” for universities as networks, such as ESPN 3 and the like, as they gain momentum—especially with newer equipment, like the Ross Carbonite switcher and its matching graphics system, which emulate the “big broadcast” that every outlet wants.

“We’re seeing considerable activity in that area now with smaller truck systems and this will lead to considerable pay-per-view broadcasting,” Gerling said, “and to added programming outlets using the cloud. It’s the concept of putting a truck in the field with limited crew that people are thinking hard about.”

NEP, CBS Go Really Big

While producing the smaller (e.g., low revenue) events with small trucks is definitely a trend, a regular season major league sporting event requires the usual large mobile units and a complete crew, and they aren’t going away.

The four-trailer SSCBS production unit consists of three 53-foot double expandos and one 53-foot straight trailer. That point was recently driven home with last month’s announcement that NEP Group and CBS have joined forces to use the Evertz IP routing system on the new, four-trailer SSCBS production unit that recently debuted at the PGA’s Wyndham Championship in Greensboro, N.C.

The unit, which consists of three 53-foot double expandos and one 53-foot straight trailer, will take to the nation’s interstates for CBS 48 weeks out of the year as the main production unit for the network’s PGA golf coverage. It will also be used for NFL Network’s Thursday Night Football broadcasts (eight of which will also air on CBS) and for Super Bowl 50.

The decision to employ IP routing in the construction of SSCBS was done for a number of reasons, including 4K capability and the expectation that cameras, switchers and digital disc recorders used for replays will eventually be controlled via IP.

“I think between the IP routing and the IP intercom system, it will add an incredible amount of flexibility to CBS’s production capabilities,” Joe Signorino, vice president of systems integration for NEP. “This is one of the largest unit systems we’ve put together and we’re well braced for the future.”

Mark R. Smith

Also on board with that train of thought is Jason Taubman, vice president of new design and technology with Hudson, N.H.- based Game Creek Video. “We don’t think it will decrease the amount of larger trucks that are in need, but will add to the number of smaller trucks the market demands,” he said. “That also might mean that, sometimes we use a larger truck for a smaller event, which we have done recently with an ESPN REMI show.”

As for the cloud angle, George Hoover, chief technical officer with Pittsburgh-based NEP Group—(*TV Technology originally referred to Hoover as former CTO and now consultant. We regret the error)—feels it “represents a significant opportunity within the mobile industry. We’re running 10-100 Gigabit networks between servers now,” he said. “In order to connect into the cloud, we need that same kind of bandwidth to move content.” (See sidebar)

HIGH IN THE SKY
Hoover noted that a number of broadcasters already operate clouds, including NBC Sports and Turner Sports. “So we’re making that connection, as we do for every NFL game, for instance,” he said.

What the cloud provides now, he added, is “greater access to off-site content, particularly archival material, features and graphics, and editing capabilities that are beyond what’s typically available on a truck.” That trend is already prominent in major league sports broadcasts “and I think we’ll see it making its way into major college venues and eventually smaller college venues, too.”

DeFilippis thinks the small model “will still cost money to implement, thus will happen slowly, organically, over time, since the payback isn’t that big. The challenge now is that the IT world has jumped up to 25 or 35 gigabits, but that means nothing unless you have proper throughput.”

Ultimately, he said, competing will require a bump up to 4K, “but the sports people might not want to do that.” The other issue is the dearth of skilled workers in the pipeline.

“The job isn’t as high-paying or glamorous as it was and many younger people are considering other industries,” DeFilippis said. “So, there’s an age gap. If a veteran is working from the studio, there’s not a young person honing his trade in the field. This is more work with less people.”