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1 Sorry I can t be there! This is the first time David s presented my slides so be gentle (and fingers crossed) TIME-COMPENSATED REMOTE OVER IP David Atkins Technical Director Ed Calverley Product Director What Is Time Anyway? Date <> Time-of-day <> Frequency <> Phase SMPTE-309M SMPTE-12M B&B/Tri-Level Sync Offline Real-time Different use cases care about timing accuracy to differing granularity. 1

2 IP-Based Production: Does Real-time Processing even exist? audio and video takes different paths through the system with different processing latencies devices register as senders and lock to PTP clock video and audio samples can be accurately aligned for monitoring and output all flows (audio/video streams) are timestamped against PTP processing devices may preserve or overwrite timestamps depending on use Real-Time processing >> Minimising & Managing Latency Arguably, since the advent of digital video and certainly with the move to IP there is no such thing as real-time processing. The challenge is to minimise latency to a level where its impact can be ignored. But at some point it cannot be ignored and must be managed otherwise the impact can be disastrous to the ability to make quality programming. 2

3 Outside Events IP studio architectures are already being deployed in outside broadcast facilities (OB Trucks) Onsite live production, whether IP or not, is typically too costly for many events Outside Events People onsite are a significant cost and can also be very inefficient for lowprofile/short events Remote production keeps operational staff at a central location reducing costs 3

4 Production With Remote Sources 1 Sources captured/relocated over highbandwidth links allowing use of fixed studio facilities at production centre Compression reduces link bandwidth but introduces latency Production With Remote Sources 1 More Sources = More Bandwidth 4

5 Remote Controlled Production 2 Link bandwidth can be reduce by keeping all the heavy lifting on site with simple remote control and monitoring of on-site systems Remote Controlled Production 2 What the operator intends: Source 1 Source 3 What actually gets switched (what the viewers sees): Simple remote control doesn t compensate for latencies, impacting the quality of coverage 5

6 Time-Compensated Remote Controlled Production 3 Proxy TIMELOCK TIMELOCK Timestamped Proxy Generation By delaying the mixer processing the compensate for the latencies accurate switching is possible. What the operator intends: Source 1 Source 3 What gets switched (what the viewers sees): Local simulations of mixing are done using proxy sources to give use the feel of real-time operation. Iphrame Flyaway is based on 3 and allows production to be done over IP links as low as 20Mb/s Time-Compensated Remote Controlled Production B/C Anywhere (typically at Production centre) A Event Site Iphrame Flyaway Client B Production Centre Iphrame Flyaway Server Program Output Received Program Reflection (confidence feed) Iphrame Flyaway Output Server Or 3 rd party decoder TX 6

7 Distributed (Multi-Stage) Time-Compensated Production 4 Proxy Proxy? What about sources not generated at the event location? Distributed (Multi-Stage) Time-Compensated Production 4 Proxy Proxy Downstream switch/mix between event feed and local sources A second stage (downstream) mixer can be used to include local sources all controlled as part of the same proxy source mix 7

8 Distributed (Multi-Stage) Time-Compensated Production Iphrame Flyaway++ can be used in the 4 model allowing sources from multiple locations to be mixed in a frame accurate way whilst minimising link bandwidth required. time Remote Production Trial at Euro 2016 The trail with BBC Sport showed architecture 4 was achievable (combining sources from Paris and Salford in 1 production) 8

9 Remote Production Trial at Euro 2016 STUDIO CAMERAS 4x HDSDI with 4 separate stereo audio feeds - or - 1 stereo audio (common mix) PARIS PGM MIXER - Full Resolution Vision Mixing & Keying - Uncompressed Audio Mixing SBC (PARIS) PGM (Full-res/Compressed) IBC (PARIS) LONDON SALFORD FINAL TX MIXER - Full Resolution Vision Mixing & Keying - Uncompressed Audio Mixing FINAL TX OUT (SDI) PARIS OUT (SDI) OUTSIDE SOURCES 2x HDSDI each with 2x stereo audio (FX+COM) STUDIO GRAPHICS 2x HDSDI - Key & Fill no audio PARIS INPUT SERVERS - Low Latency Proxy Generation SOURCE PROXIES SOURCE PROXIES SOURCE PROXIES (multicast) CONTROL & TALLIES SOURCE PROXIES (multicast) SALFORD INPUT SERVER - Low Latency Proxy Generation SALFORD SOURCES 2x HDSDI each with 2x stereo audio (FX+COM) SALFORD GRAPHICS 2x HDSDI - Key & Fill no audio Control UI UI with Instant with Instant Proxy Mix Proxy Mix Control UI with Instant Proxy Mix Remote Production Trial at Euro 2016 Control workstations in Paris and Salford allowed operators to mix between all sources with real-time PGM+PVW outputs generated from proxies. 9

10 Where Next? 5 Hybrid Production with Proxy Sources The time-compensated concepts of 3&4 can be applied to traditional hardware mixers in a variety of ways this 5 th architecture we ve been developing with Sony is a hybrid of software and hardware processing allowing operation in an existing HD gallery (using HDSDI proxies) with high-quality A-B feeds being sent back for final mix processing on a slave M/E bank. How did he do? Watch Ed whizz through remote production architectures in 10 mins on our website (hopefully it ll be very similar!) /live-event-mixing 10

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