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.
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.
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.
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.
Not so long ago KVM (Keyboard Video Mouse) was exclusively associated with datacentres. Its very existence traces back to the 1980s when the computer industry took off and, as a result, server rooms and data centres became overwhelmed with hundreds of monitors, keyboards, and mice. The amount of real estate these devices were taking up, along with the distance that technicians had to physically walk to in order to access each server, was becoming an issue.
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.
With the emergence of cloud applications and services, changes in business and technology in the M&E market are accelerating. The multitude of streaming formats and platforms has pushed the technology used up to now, to implement the media supply chain to the limit, revealing its limitations and overwhelmed by the complexity of localization, UHD/HDR production and content distribution, among others. A successful media supply chain requires an efficient multiplatform reception, production and distribution of contents.
Redundancy has always been a major topic for broadcast operations to ensure that the show goes on despite a defective power supply or other failure. While all eggs were in one basket—i.e. in one place and close to one another—this approach was certainly helpful. Calling such a setup resilient would nevertheless be a stretch.
Argosy was founded in 1984, originally to supply broadcasters and systems integrators with cables and connectors. Today we are known as infrastructure solutions specialist and have rapidly expanded our portfolio in recent years, with an extensive range of products and services, including racks, power management, conversion devices and KVM technology – and we serve a number of industries alongside broadcast – such as Pro-AV and IT.
This is the age of multi-tasking and multi-production. Behind the scenes of every news, sport and live broadcast channel is a team of people who make the content come to life, and here in 2022, almost every aspect is driven by computer technology. These live production environments rely on multi-server, multi-PC and multimonitor infrastructure, where people take control through our default peripherals; the keyboard and mouse.