Having people working centrally and only sending a small, fast vehicle to provide a significantly small load of equipment to the arena, enables substantial cost savings and prevents empty runs of production equipment, while providing the at-home based production crew access to central archives and an established studio production environment. At large events, like the Olympic Games or the FIFA World Cup, at-home production can increase the amount of content with fewer technical staff at the event – maximizing output while minimizing costs. At-home production enables the same staff to produce more programs per day, and enables production companies to use the best available freelancers in the market for various consecutive productions.
#ATHOME VIDEO STREAMER 2.0 DRIVERS#
Producing more live content is one of the major drivers as multi-platform delivery demands an increase in content production. The new workflow has been created for several reasons, but is mainly driven by the need to accomplish more with less, although the initial drivers alter depending on the region. Now the market must move one step further and improve the implementations of at-home productions. However, these implementations have all been using existing technology which has been adapted to solve the current challenges. The concept of at-home production – or remote, REMI or centralized productions - has been well-developed for several years, and there have been several implementations of long-distance transmission of raw feeds. IP studio transition is the number one technology topic in the broadcast industry, but it’s full potential can only be enabled by creating new workflows, like at-home production and extending the studios over a Wide Area Network.
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