In 2022, the IABM identified that the larger players in the vendor community were encouraging media tech customers to move to single-brand end-to-end or ‘glass-to-glass’ solutions.
On the surface the benefits seem obvious; communication is streamlined as you only need to deal with one supplier overall, interoperability shouldn’t be an issue as the equipment and platforms are the same brand, liability is solely with them, and there are potential cost savings on project management and resources.
However, the same Media Tech Spotlight report indicated that actual end users preferred best-of-breed solutions.
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Media & Entertainment professionals find themselves in some strange and sometimes unforgiving environments. The demand for new and high quality content is relentless; and consistently serving audiences with a diversity of new perspectives takes a certain level of resilience, both mental and physical.
Resilience is a prerequisite for the journalists who chase real-life stories, production crews that cover live events, and film and documentary creators whose ambition is to expose their audiences to perspectives and places they have never seen before.
The technology they rely on throughout their epic journeys needs to live up to their ambitions to produce great content, even in the face of challenging physical environments and circumstances. From jungles to mountaintops, from extreme heat to freezing cold climates, or even remote or disaster-struck locations; finding a network signal path to transmit their amazing content seems impossible.
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In the dynamic world of video streaming, media organizations are constantly seeking efficient and cost-effective solutions to manage their large-scale implementations. One of the key metrics that has to be met to validate any purchase decisions is Total Cost of Ownership (TCO). And, like Maslov’s famous Hierarchy of Needs, TCO analysis must start with foundational requirements.
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In the world of live broadcast, the ability to reliably stream high-definition video with low-latency over public and private cellular networks is critical – especially with the increasing adoption of 4K video and demand for remote and wireless production workflows. While traditional wireless video transmission solutions rely on Wi-Fi or bonded cellular data connectivity, which can be slow and prone to interference, NEP’s 5G MT-UHD (MiniTx) takes advantage of 5G new radio (NR) access technology to provide fast and reliable connectivity, even in areas with high network congestion.
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Build vs. buy might not be the oldest dilemma in the streaming technology book, but it’s close. And when it comes to complex live streaming, the horns of that dilemma are particularly pointed.
The streaming technology market is typified by off-the-shelf, line-of-business applications that do a few things very well, but are extremely difficult or impossible to extend if they don’t do exactly what you want. That lack of customization can be a dealbreaker.
On the other hand, for a broadcaster (or large enterprise, or betting company, or …) to build its own streaming platform from scratch requires a daunting investment of time and resources—resources that would be much better spent on their core business proposition.
So let’s dig a little deeper into both buying and building, as well as look at a middle path that offers media companies the best of both worlds.
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If there is one truth in this business, it’s that nothing ever stays the same when it comes to clients’ business needs. Ever-changing requirements and a wide variety of environments and workflows mean communications – and the tools needed to deploy them – look different in every situation, even when done by the same team.
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Media is now a global business. Audiences anywhere are clamoring for content from everywhere.
The K-Pop phenomenon means that a concert taking place in Seoul can attract a huge audience in Seattle and Sienna. In recent weeks sports fans globally have been gripped by world championships: cycling in Scotland; netball in South Africa and football in Australia and New Zealand.
Media connectivity is more than just television coverage of sports or concert relays to theaters.
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cloudswXtch is a virtual overlay network that brings on-premises features including multicast distribution to the cloud. Deployable as a software solution within a physical broadcast network or a cloud tenant, cloudSwXtch helps broadcasters and video service providers merge on-premises and cloud networks, migrate demanding media workloads, and establish mesh configurations to create global networks. cloudSwXtch unlocks missing network features that are required for demanding, high-throughput workflows in broadcast and media applications including multicast, broadcast, packet monitoring, network path redundancy, and protocol conversion and fanout.
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2022 was a ground-breaking year for BT Media and Broadcast, characterised by many firsts. Namely, using the power of 5G technology to deliver truly engaging broadcast experiences, placing sports fans at the very heart of the action.
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Recently, the American Society of Cinematographers (ASC) released its Media Hash List (MHL) specification to bring standardization to the media transfer process. The raw amount of data produced in the media and entertainment industry has never been greater than it is today, and will continue to grow well into the future. Similarly, there are now more data transfer points than ever before.
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