27 ROUND TABLE Corporate Video THISMONTH’S FEED ROUND TABLE GUESTS ARE:
TUSKIEWORKS: MR TUSKIEWANTS TODO REGULAR ADDRESSES – “TUSKIE TALKS” – TO OUR GLOBALWORKFORCE. WHAT SUGGESTIONS DO YOUHAVE FOR BUILDING A GOODWORKFLOWFOR THIS? ANDWHAT IS THE BESTWAY FOR US TO BROADCAST FORMULTIPLE DEVICES?
BRYCEBUTTON,DIRECTOR,PRODUCT MARKETING,AJAVIDEOSYSTEMS Bryce Button shapes marketing messaging and initiatives for HDR, broadcast IP, digital interface, camera, conversion and desktop solutions for the professional video, digital cinema and ProAV markets. He has worked in production and post-production since the 1980s. Button has worked for most leading NLE companies over three decades and run his own editing facilities for over 15 years. He also has extensive experience as an editor and post- production supervisor.
BRYCE BUTTON: Whether creating video for live or on-demand viewing, every aspect of production needs to be carefully considered ahead of time to achieve the desired final output, including the capture device. Mr Tuskie would be wise to allocate budget for the highest-resolution camera that the project can spare, even if delivering in a lower resolution, to ensure the best-quality picture from inception through to delivery. Next, it’s important to look at the quality of the stream that Mr Tuskie wants to achieve and whether or not high dynamic range (HDR) is feasible. HDR is appealing to audiences for its ability to deliver a picture that more closely mirrors the human visual system and in turn creates a more memorable viewing experience. If higher-resolution track is chosen, it’s important to select the right bandwidth for compression and test it prior to the stream. This will allow the production team to achieve the desired image quality while accounting for viewer bandwidth variance. When producing a live stream with multiple source outputs, whether a camera, graphics or presentation material, yet another consideration is how the team will incorporate presentation material from computer sources with the live footage and switch between feeds. Scan converters are particularly helpful in synthesizing non-standard video sources (ie PowerPoint content) into the stream at the desired raster size and frame rate. In terms of switching, the team can either opt for a physical switcher on site or use a combination of software with video I/O hardware, like Wirecast or vMix, with a multichannel capture card from AJA. We’re seeing a lot more of the latter today in corporate video, because it makes it easy to switch throughout the stream directly from the software.
LIAM HAYTER: Like anything, you should start with your content and define the workflow from there, so really this is a question of format. Let us assume you want to do a chat show- style environment for this. You’re going to want some bi-directional elements for external contributors over what a town hall-style environment would require. From there, you are going to want to think about how many camera angles you want, and your additional sources like PowerPoints, graphics etc, and then look at your audio requirements – how many guests would Tuskie like to have with him? Always plan for the worst case scenario! After that we then need to look at your Vision Mixing requirements; how many sources do you need on screen at once? Think contributors here. Once you’ve addressed the Live Vision Mixing side, we then need to look at an appropriate CDN that can deliver to the devices staff use. The great thing is there are already awesome CDN services out there (such as Azure) that can adapt to the displaying device. At NewTek the great thing is that all of the above are easily catered for within our TriCaster range so it makes the workflow side dramatically simpler. From an infrastructure standpoint, I’d highly recommend going IP all the way; with our NDI (Network Device Interface) AV over IP protocol you can achieve everything by standardising on gigabit ethernet for all your cameras, presentation sources, even your audio! JEFF RUBENSTEIN: Any respectable webcasting platform will handle the transcoding and delivery of the content to any device, anywhere in the world. Where these platforms distinguish themselves is in the richness of the experience: do they include just video, or video and slides? Do they include Q&A? Polls? Can they bring in multiple presenters from multiple locations? As for the workflow: a great deal depends on the event, what you want to convey, and how you want to convey it.
JEFFRUBENSTEIN,VPOFGLOBAL PRODUCTSTRATEGYANDBUSINESS DEVELOPMENT,KALTURA Jeff has held senior roles in a number of educational and technology companies, including 2U and Wimba (prior to the Blackboard acquisition). He works with a number of other companies and standards bodies on learning interoperability standards, and how to create and measure
engagement in rich media experiences.
LIAMJHAYTER,WORKFLOW ANDSOLUTIONSARCHITECT, EMEA,NEWTEK Liam is Newtek’s workflow and solutions architect for EMEA. Based in London, with over 18 years’ experience as a creative technologist, Hayter joined NewTek in June 2017 and provides pre-sales product knowledge, IP workflow and systems architecture to customers.
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