55 ROUND TABLE Sports streaming
GoPros linked to our 4G backpacks during the live feeds, but we haven’t yet used them live underwater. It’s something that we will try to explore next season, and are already planning on doing some tests. Underwater footage with GoPros is something we have been using a lot in the last few months, but not for live feeds. LIAM J. HAYTER: Underwater would kill wireless video solutions – simply too much interference is generated by a body of water. Wi-Fi and RF can struggle without line-of-sight in stadiums, too – a lot of humans is essentially a big body of water. However, NDI would not be an issue as you can get underwater Ethernet cables. You’d have to find a suitable housing/camera combo, but running NDI on Ethernet underwater shouldn’t be a challenge at all. CHARLIE PRICHARD: If the image quality is there and it’s compatible with your wider production workflow, those are the two most important things. Just be sure not to have your underwater camera crew serve themselves up as a mid-match snack for the sharks! CHUMS: As we grow our channel, how much of our production should we do and build in-house vs. outsourcing? OLALLA CERNUDA: At ITU, we have decided to outsource almost all the production, editing and filming resources, but we have a consistent team that goes to all events. Our video editors
WITH STREAMING IT’S NOT JUST AN OUTWARD PUSH OF CONTENT ANYMORE
LIAM J. HAYTER: That is a decision you need to make as a business. Typically, most clients we work with would hand off the distribution of the livestream to a hosted CDN service that has scalable servers to meet varying audience sizes. There’s nothing worse than having more viewers than you can accommodate when popularity soars. CHARLIE PRICHARD: With the possibilities brought by automated production, I think that our industry has already reached the tipping point where you can achieve high-quality live productions without the need for highly skilled camera teams. Automated production companies certainly prove this, whether that’s a completely unmanned operation inclusive of video, sound and graphics or where you have minimal staff mixing a multi- camera production. This provides so many efficiencies in cost, skills and manpower that we’re at a point where you could easily produce everything in-house to a very high standard. CHUMS: How can we start using graphics packages to improve the coverage we offer? OLALLA CERNUDA: Being able to integrate our platform with our timing and graphics partners in events is really
are contractors, but we always use the same team so that we keep consistency in all our events and work as a team of individuals. We rely on specialised companies for the things that we as an international federation don’t have the knowledge or the resources to do: DMC is directing our shows remotely from Stockholm, Intinor is providing our 4G backpacks, and Vimeo is our platform for the OTT channel.
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