Carol Bettencourt Chyron VP, marketing
How have you seen the cloud develop since your time working in this area? Working with live broadcast technology for over two decades, I have seen many changes. In the past few years, though, there has been a notable shift towards utilisation of the cloud for various live video production purposes. The cloud is not new. We have all seen its adoption outside of broadcast. A common example would be Microsoft Office, originally purchased on a disc, then available for download and now accessible for use in the cloud as Office 365. Of course, video represents a much larger digital footprint than text files or even still images, so it is inherently more challenging. But, there have been cloud- based video editors as far back as 2004. Live production presents its own unique challenges, in that it requires ultra-low latency, camera synchronisation, real- time monitoring and very reliable security. With live audiences and the involvement of sponsor dollars, the stakes are high. Even with these challenges and high stakes, broadcasters recognise potential advantages including lower entry cost for scaling up, testing and monetising new content; sourcing production talent from anywhere in the face of ongoing labour shortages; and reduced travel costs and set-up times for special event production. Currently, an acceleration in testing and evaluation of live cloud production seems to be pointing to significant adoption over the next one to five years. A big one: How do you personally define the cloud? While a real cloud is a collection of droplets of condensed water vapour, ‘the cloud’ is a collection of servers in a facility somewhere. Like real clouds in the sky, the cloud is often seen at a distance; we
may not know its precise location, and we may not understand everything that happens within it. We interact with the cloud via the internet. Just like servers that we interact with more directly, it may be used to store data or media and it may be used to platform and run software applications. In short, the cloud is the commoditisation of digital storage and processing power. When you think about how important digital storage and processing power are to broadcast production, you realise the tremendous potential the cloud offers. What are the most exciting trends we are seeing emerge within cloud offerings? Cloud offerings encourage more workflow efficiencies. In the past, live production all-in-one offerings have consisted primarily of multiple functionalities, such as vision mixing and graphics, all available in one device but working in much the same way that they have traditionally. With cloud offerings, users are becoming even more detached from single-purpose devices, and we see more multipurpose interfaces that allow a single operator to do more, or allow distributed team members to contribute in real time with full visibility into all aspects of the production. Along with a single operator doing more, we are starting to see increased reliance on AI, not necessarily to substitute for human knowledge but to offer additional efficiencies. Of course, AI is useful in non-cloud environments too, but it is an ideal addition to cloud production. For example, AI can recognise a point of interest in a sports event, such as scoring a goal, and automatically create a replay clip from five seconds prior to five seconds after
the point of interest. The operator may decide whether to use it or to create a different clip. But, if it is usable, the operator has saved valuable seconds in the fast-paced live sports broadcast. Although cloud workflows help to better some sustainable practices, there are still problems like the carbon-emitting data centres at the other end. How can cloud service providers work to better the sustainable side to the cloud? It is true that data centres are known carbon emitters, but individual facilities with production and storage on their own devices are carbon emitters as well. Their emissions, of course, are much smaller than massive centres, but collectively, it all happens somewhere, whether it is in small increments all over the world or in a few consolidated areas. Cloud providers recognise the importance of green practices and may in fact be in a better position to implement green power than localised facilities. AWS has pledged to be 100% green by 2025. If every facility that now relies on AWS Cloud had kept all their operations local, it is doubtful they would all be running on green power by 2025. How has the cloud helped to define the M&E trades as we see them today? Historically, media and entertainment has been defined by well-funded major corporations, often in major media hubs. Cloud production has furthered the democratisation of media and entertainment, allowing creativity and content to flow from anyone, anywhere with a relatively low-cost barrier to entry. What does the future hold for the cloud (especially for broadcasters and media organisations)? The cloud will play a key role in broadcast and media of the future, helping the industry adapt to the demands of the modern, nonlinear audience with high expectations and enabling it to leverage the creativity and skill of contributors.
IN SHORT, THE CLOUD IS A COMMODITISATION OF DIGITAL STORAGE AND PROCESSING POWER
feedmagazine.tv
Powered by FlippingBook