PRODUCTION AND POST
Digital Azul Live’s remote production unit deployed at Al Shaqab Arena, Doha, during the Longines Global Champions Tour
Vodafone Germany's extended reality studio
to their stakeholders and customers,” comments director of bids and proposals Jonathan Hughes. “The other style of solution we built is for video podcasting. Normally, these are separate because companies are going for a very different look between the spaces. People are trying to build podcasts that feel quite relaxed, intimate and contained.”
Equipment of choice This is reflected in the choice of equipment, with smaller, nonbroadcast style cameras such as the Sony FX3 and FX30, fitted with Canon cine lenses for a shallow depth of field, being a popular choice. Also common are Blackmagic Design (BMD) ATEM Mini vision mixer and RØDE’s RØDECaster Pro II audio production console. From the manufacturer’s perspective, Grégoire Deminiere, business development manager for live production at BMD, confirms he is
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seeing “a lot of people” using broadcast equipment. “Maybe 10 years back, video conferencing wasn’t utilising broadcast technologies because they were simply out of reach in terms of cost,” he adds. “We’re seeing products like the ATEM Mini being used in corporate communications, from video conferences to small podcast set-ups, giving organisations the ability to broadcast their own content.” While IP already plays an important part in existing corporate IT infrastructures and is extending into many in-house TV installations, Deminiere says broadcast mainstay SDI is also used in the enterprise sector because “it’s practical, latency-less, uncompressed and incredibly high quality”. Sony Europe business development engineer Mike Williams confirms that, from research the manufacturer carried out through integration partners into London studios, the ATEM range is widely used. “The infrastructures tend to be consumer-based,” he comments. “Companies are not utilising SDI or any streaming technologies; it’s all pretty straightforward 10-bit HDMI because a lot of switching for live streams is in HD. However, they’re recording on 4K cameras and then post producing in that format, so it’s a hybrid approach, which is a smart way of doing it.” Williams observes that “more sophisticated cameras and some of the techniques of broadcasting and live editing” are now firmly in the B2B and enterprise spaces for producing corporate messaging, interviews and marketing campaigns. “A lot of workflows are being handed down from broadcast for the production of this content,” he adds. “There is definitely a trend towards higher quality video material.” Professional microphones and audio mixing consoles are long established in the AV and live performance sectors and now also feature in corporate broadcast set-ups. Solid State Logic (SSL) is seeing its System T consoles, based on Audio-over-IP (AoIP), expanding from TV work into theatres, internal and external meetings and product launches. Broadcast product manager Berny Carpenter comments that live events in a venue, often with a stage set and an audience, are increasingly common for streaming to the web.
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